“With television directing jobs on the rise and more industry employers heeding the call for director diversity – our members have told us that they are seeking career development resources to help set them up for success,” said DGA president Paris Barclay. “And the DGA has the best resources in the world – a deep well of talent made up of seasoned TV directors who are dedicated and eager to give back to their Guild and share their years of expert experience with the next generation. That was the driving force behind this new mentorship program and initiatives which are designed to equip early-career directors and members transitioning to episodic television directing with the tools necessary to turn those first few jobs into lifelong careers.”
21st Annual Webby Awards "Honoree Awards" - 2017
Client: Toyota RAV4
Agency: Conill Saatchi & Saatchi
Source:2016 Billboard Latin Music Awards
Director: Pascui Rivas
Prod. Company: D'Avant-Garde Media
Every so often, an email like this appears in my inbox:
“We need a director who will light, operate camera, edit, etc. Someone who can shoot super cool for 2 bucks and veeeery quick… edit and finish everything in a week for those same 2 bucks. We need confirmation today. Thanks.”
This micro documentary I directed is my 2 cent contribution to this giant circus. Watch out for “O1 Agency”, they’re coming through. Enjoy!
Commercial Film Directing Masterclass (highlights) - Villa María National University, Córdoba, Argentina.
Engrossing and entertaining as all things “powered by” This American Life.
We used to believe there was a gap in the world where everything we dreamed, everything we wanted to achieve was taking place inside this gap. It was inaccesible and therefor mythological. We would organize our lives reaching towards this void like excited newcomers peaking over a fence. Now that gap is closed and we can see what there is on the other side; that there is no other side. Facebook has killed the dream.
I’ve always been amazed by the biographical flamboyance, which is not only tolerated but actually expected when submitting a proposal or adopting the role of candidate in any given realm. Writing about one’s “unique qualities” is already uncomfortable enough, but actually having to auction the best possible version of yourself has always seemed somewhat obscene.
“One should not talk about himself”, that’s what I was always taught.
Film critics -who master the skill of identifying the “borrowed” elements, homages, themes ,etc. that contemporary films tend to quote from their classic predecessors- at least have the comfort of writing about someone or something else.
One could argue that modern times leave no space for institutions to take any risks and that funding sources are entitled to a detailed explanation of how and where their grant moneys will be allocated. But is it actually necessary for an applicant to describe his strengths in a way that enlarges himself to the point of non-recognition? Shouldn’t an artist’s body of work be proof enough?
The main speaker at a grant-seeking seminar I attend inquired with passion: “Why does the world need your film?”.I immediately thought of a phrase by Argentine author Pedro Mairal, who in his blog reflected with a mix of defeat and irony : “(It’s interesting) how the world seems just as perfect without me”.
There has to be a better way of presenting one’s integrity; one’s core values; one’s sensibilities than through the legitimatization of shameless self-promotion.
In fairness the to money guru back at the seminar, what he probably meant was, “basically explain why you think you might be a key individual in the telling of this story”; and this does make sense to me. But if only we were allowed to be truly humble; truly transparent and perhaps even truly flawed.
In high-school I cheated only once, the time I got caught. I had managed to fit all the answers for a chemistry test in miniature handwriting. The process alone of skillfully transferring all this data onto a minuscule peace of paper indirectly served as a perfect studying technique. So then, could it be perhaps that the very practice of enunciating one’s long list of victories when preparing submission materials actually has an effect that imparts a sense of confidence in the candidate -a priori- that is independent of the outcome of his submission. Should we then “fake it till we make it”?
Apparently I’m last to find out that Marty had two fiancées (yet only one love interest). Unlike Hitch’s “Vertigo”, in which the same woman plays (or actually pretends to play) two different characters throughout different moments of the film, what we have here is two different actresses playing Marty’s future wife, Jennifer.
Elisabeth Shue was cast as Jennifer, and all the closing shots of Back to the Future were re-shot for the beginning of this film. Claudia Wells (Jennifer in “Back to the Future”) was unable to reprise her role as she had stopped acting because her mother had been diagnosed with cancer. She returned to acting for the independent film Still Waters Burn.